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Here's a little cue (one of my favorites) from LOTR: Return of the King. VSL handled this quite nicely, although I had trouble with the vibrato in the upper register strings (probably because I only have First Edition); and I just couldn't get that happy 'bouncing' feel from the cellos as in the original. Original ROTK cue: http://web.ics.purdue.edu/~cobrems1/VSL/Original_LOTR.mp3My VSL programmed cue: http://web.ics.purdue.edu/~cobrems1/VSL/VSL_LOTR.mp3
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pretty darn close. The real string are richer but hey, that's to be expected. Otherwise a very convincing effort. Kudos.
I compose therefore I am.
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Very good indeed 
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This is the hardest thing to pull off a DIRECT comparison to the real thing. A lot of work undoubtedly went into this but for me I can hear the 'thiness' of the strings the higher they go. Also the 'sucking' sound to my ears is quite present.
More than even brass, strings just aren't quite there for me (from any library). Stringed instruments have so many ways to articulate that is makes it next to impossible to pull it off perfectly.
I have committed to VSL becuase I think they are they best horse to ride - be interesting to see what 'new' technology (morphing) or tools (performance) they come up with to bring us closer to the real thing in the next 12 months.
Having said that, most Directors / Producers probably couldn't tell this was a mock up.
Rob
what would you attempt to do if you knew you could not fail?
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Rob Elliott wrote:I have committed to VSL becuase I think they are they best horse to ride - be interesting to see what 'new' technology (morphing) or tools (performance) they come up with to bring us closer to the real thing in the next 12 months. Morphing ? with VSL ? Mathieu Laprise
Sonomax inc.
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Rob Elliott wrote:
More than even brass, strings just aren't quite there for me (from any library). Stringed instruments have so many ways to articulate that is makes it next to impossible to pull it off perfectly.
Rob
YES Rob. I totally agree. No one has nailed it perfectly yet. Although VSL gets closest with its legato performance tool. I compose therefore I am.
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Can we have more details about morphing ? or is it a (wonderful) secret ?  Thanks Mathieu Laprise
Sonomax inc.
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Carl, very impressive, what score did you use for this, Jeff
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Your reverb is off. The correct verb settings and/or plugin could make this as much as 50% better. Listen to the reverberation of the original. Your tails are too short, and your convolution patch has the mics too close or you've got too much dry signal coming out. Add a large hump to the violins bass end (DO NOT be conservative. a LARGE hump). Find the nasal frequencies and notch them by 3db to 9db, with a narrow band, OR, do a slow wide dip in that area of about 4db. Add some treble to your woodwinds, they are too muddy. WHERE'D YOU GET THE SCORE NOTES? [  ] Evan Evans
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That's very cool - great job. Evan is very right about the reverb, though. The majority of the score was recorded in Watford Town Hall, which is vast, and even the sessions done at Abbey Road or Air were carefully matched in terms of ambience. You might want to try layering your reverbs, to get a denser sound, rather than just turning up the level or RT time. Are you going to do the whole thing?? [  ] Michael Prce Music Editor - LOTR
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Yikes, I'd forgotten what a dreadful score this is...  DG Nuendo 6.03, 4.3
2 x Intel Xeon x5675 3.07GHz Hex Core
48GB RAM
Windows 7 (x64)Pro
RME Multiface II
Intensity
ATI HD5400 series graphics card
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DG wrote:Yikes, I'd forgotten what a dreadful score this is... DG To each their own. I love the score. Wow! Michael Price weighed in on this. Now that is cool...
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michaelprice wrote:...Evan is very right about the reverb...Michael Prce
Music Editor - LOTR Wow, thanks Mr. Price. My wife and I (both film composers) got a good laugh and buzz off you chiming in! Congratulations on your success! I hope it has done something great for your dreams. Evan Evans
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Quote:Are you going to do the whole thing??
Michael Prce
Music Editor - LOTR Why? You longing to spend some more time in that little closet at Watford furiously editing takes? I guess it could be rather cozy in there. [ ] Jason Poss
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Hi Jason! Oh my God. The whole LOTR posse is here . . . Is it part of your post-ROTK therapy to read forums at work as well? Hope everyone over in Tuxedo-land is keeping great. Did you do Aviator?
Hi Evan - glad to chip in, particularly as I'm a keen VSL user for my own composing. Can't beat those legato instruments. I think the whole Lord of the Rings project will stay with all of us involved for many years to come. Or so my psychiatrist tells me.
Cheers all
Michael
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michaelprice wrote:
Michael Prce
PS It also appears that I can't even spell my own name. Anyone for more coffee?
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Quote:Hi Jason! Oh my God. The whole LOTR posse is here . . . Is it part of your post-ROTK therapy to read forums at work as well? Hope everyone over in Tuxedo-land is keeping great. Did you do Aviator? I packed the wagon and headed west from Tuxedo-land after ROTK and didn't stop 'till I found a beach. I'm now living in California. Volleyball has proven to be a wonderful therapy. Though I do shock myself at home with a broken lamp every now and then just to keep the flashbacks away. You didn't have to see HS in the wee hours of the morning at the hotel! [ ] I'll drop you a line soon. Best, Jason
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Carl Obremski wrote:Here's a little cue (one of my favorites) from LOTR: Return of the King. Very Nice, Carl. Almost makes me want to leave my paths of Pop Music for a while and get into orchestra music instead. tele
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Thank you all very much for your responses. I'm still learning a lot about mixing orchestral samples. Quite more of a challenge than pop music! As far as the notes...I just did it by ear. I've trained my ears over the years to pick out the instruments. I don't really think it's that difficult for Shore's music; he didn't mess too much with the original recording.
Michael, can you give us any hints on how to properly edit a score?
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Hi Carl
Music editing for films is a pretty broad area - I'd probably divide it up into 4 different tasks; making temp scores, choosing and abusing songs if there are any, preparing and running sessions, and preparing for and doing the final dub. Not everyone does all of these by any means, and there are often several people involved in a big film.
Not quite sure where to start - is it more useful to know about preparing your music for a dub, or do you want to know more about temp scores etc (which I know people feel strongly about)?
Cheers
Michael
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